The Day Dream - Dante Gabriel Rossetti
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Description
A portrait of Jane Morris by Dante Gabriel Rossetti, depicting a woman lost in thought while seated in a sycamore tree.
The Day Dream, completed in 1880, depicts Jane Morris, a frequent muse for Dante Gabriel Rossetti. She is shown seated within the branches of a sycamore tree, holding a book in her lap. The composition focuses on her contemplative expression and the heavy, dark green folds of her dress, which merge with the foliage surrounding her. Rossetti uses a specific colour palette dominated by deep greens and earthy tones to create a sense of quiet isolation.
This work belongs to the later period of Rossetti's career, where he moved away from the narrative complexity of his earlier Pre-Raphaelite paintings. Instead, he focused on single, iconic figures often placed in atmospheric, dreamlike settings. The inclusion of the book and the sprig of honeysuckle, which she holds in her hand, provides symbolic weight to the image. The honeysuckle is a traditional emblem of the bonds of love, while the book suggests a moment of intellectual or romantic reflection.
Rossetti's technique here involves careful layering of oil paint to achieve the texture of the fabric and the density of the leaves. The figure of Jane Morris is rendered with a distinct physical presence, her gaze directed away from the viewer as if lost in thought. The painting reflects the artist's interest in the aesthetic movement, prioritising mood and visual harmony over strict realism. The work remains a primary example of his late-career focus on the idealised female form, captured in a state of stillness and introspection. It is currently held in the collection of the Victoria and Albert Museum in London.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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Specific Features
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- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
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- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
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Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
The Day Dream - Dante Gabriel Rossetti
Artist Biography
Dante Gabriel Rossetti
He was born in London to an Italian political exile and named after the author of the Divine Comedy. His father was a professor of Italian at King's College. The household ran on poetry, politics, and argument. Rossetti wrote verse throughout his life and considered himself a poet as much as a painter.
His early paintings are small, bright, and meticulously detailed in the Pre-Raphaelite manner. The Girlhood of Mary Virgin and Ecce Ancilla Domini have the flat, jewelled quality of medieval altarpieces. After 1860 the style changed. The paintings became larger, more sensual, and dominated by the face and figure of Jane Burden, who was William Morris's wife.
The relationship between Rossetti, Morris, and Jane is one of the more uncomfortable triangles in art history. Morris married her. Rossetti painted her obsessively. She modelled for Proserpine, La Pia de' Tolomei, and dozens of other works in which she appears as a mythological woman trapped in an unwanted situation. Whether the affair was physical remains debated. Morris, characteristically, said nothing publicly and channelled his feelings into wallpaper.
Rossetti buried a manuscript of his poems in his wife Lizzie Siddal's coffin when she died of a laudanum overdose in 1862. Seven years later he had the coffin exhumed to retrieve them. He published the poems. He was addicted to chloral hydrate by then and increasingly paranoid. He died in 1882, at fifty-three.
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